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Saturday, September 24, 2016

Alan Eastwood was well known as a great drummer but his talents extended to singing and also songwriting at which he was prolific. Alan Eastwood joined The Brumbeats - formerly The Plazents who were signed to a Decca recording contract in 1964. The band also recorded under the name 'The Merseyboys' and had a now rare album of Beatles songs released on the famous Vee-Jay label in the U.S.A. As a member of The Brumbeats, Alan first tasted fame when the band played support for and appeared on the same bill as The Beatles when they performed in Birmingham.

Alan went on to form his own blues-based trio called The Exception with former Brumbeats guitarist Roger Hill and bassist Dave Pegg - later to join Fairport Convention. The Exception was very much Alan's band as he wrote their original material and sang the lead vocals as well as playing harmonica - not the easiest job on stage as he also played drums at the same time! The group had an album and several good singles released on the President Records label including 'The Eagle Flies On Friday', 'Rub It Down', and 'Tailor Made Babe'. Alan also had his own solo single 'Blackbird Charlie' issued on President in 1968 as well as a now super-rare solo album titled 'Seeds... Alan James Eastwood'.

Alan Eastwood continued to work in the music business and spent his later years in London where he lived until his death from heart failure. He never really got the recognition he deserved but was a talented musician who was well respected in the local music community. Louise Lane who's uncle was Alan Eastwood has some fond memories of him; "Uncle Alan was not just a talented musician - he was also a good listener, giving advice, guidance and support to AA members and helping out with various charities within his community, including helping the homeless in the soup kitchen. From my own memories of Alan, I recall his upbeat energy and sense of humour and of course he just loved to sing and play his guitar to the family. He was an entertainer as well as a kind hearted man".

This is Alan James ‘Bugsy’ Eastwood's first solo effort, moved with the changing times of the decade’s end, and melds Eastwood’s impressive rock sensibilities with a folk thread – to superb effect.

His arresting voice is the album’s primary weapon, its wistful soulfulness papering over, in places, some rather passé lyrics. Yet it’s hard to see why, across great down-the-line singer-songwriter fare such Evenin’ Rain or Virgin Morn, Seeds is so often tagged as an acid-folk record. It isn’t. Flashes of Nick Drake’s percussive jazziness do rear up from time to time but, actually, this deserves to stand as a great 70s singer-songwriter record that sets its own tone and meter.

Sunday, September 18, 2016

In the beginning, there were 'The Brumbeats' of whom drummer Alan "Bugsy" Eastwood and guitarist Roger Hill were part of the line-up. The group recorded for Decca Records in 1964 which included an album of Beatles covers under the name 'The Merseyboys'. Alan and Roger later teamed up in 'The Hooties' who with the addition of bass guitarist Dave Pegg, became 'The Exceptions' after signing to Eddie Kassner's President Records label.

The Exception was to have no less than seven innovative singles issued on the CBS and President Records labels respectively which in itself is an "exception" considering the "Three strikes and you're out" rule seemed to prevail at most record companies in those days. Unfortunately, none of the Exceptions' records impacted the charts although the band had plenty of 'live' work including a number of German tours where in that country they seemed to gather the most support.

No less than 26 tracks are included on this wonderfully produced CD comprising all the band's singles (A and B sides), their 1969 album, plus an additional five previously unreleased recordings issued here for the first time. The CD packaging is attractively designed by Andy Morten and packaged in its own jewel case. This also holds a 16 page book full of rare photos, recording details, and project co-ordinator John Reed's definitive story of the band including quotes from surviving members.

Thanks to sound engineers Simon Murphy and Mark Stratford, the re-mastered audio quality is excellent - especially on the album tracks. The first 14 recordings on this CD consist of the A and B sides of the band's seven singles issued between 1967 and 1969. Possibly the best known of these is their first titled 'The Eagle Flies On Friday' (issued at the time as 'The Exceptions').

This drums and vibes-driven track was inspired by an American expression relating to the eagle on their dollar bill with lyrics about an employee's weekend escape from his oppressive boss after getting his pay on Friday. Alan Eastwood's lead vocal is certainly very American influenced in this respect, although for this one, the song may have more in common with Eddie Cochrane's 'Summertime Blues'. In addition, Roger Hill contributes a cutting guitar solo while future Led Zeppelin star Robert Plant (who hitched a ride down to London with the band), plays tambourine!

The band's first single for President Records (with new bass guitarist John Rowlands) is a bizzare song titled 'Rub It Down' that could easily be taken for a comedy/novelty number. The song is recorded in a highly-danceable ska/reggae arrangement complete with Bugsy's lead vocal imitation of a West Indian accent! While another Brum band Locomotive led by Norman Haines recorded successful ska impersonations such as 'Rudi's In Love', who knows what direction The Exception may have followed had Rub It Down been a hit!

New band members; bass guitarist Malcolm Garner and saxophonist/pianist Steve Yetson, were on board for The Exception's next A-side which is the Chicago style blues-driven 'Tailor Made Babe' featuring a great piano introduction. This one obviously suited the band's style and probably sounded great when performed live. There's a good guitar solo in there too. You'd have a tougher time dancing to the barely two-minute long B-side titled 'Turn Over The Soil' with it's blasts of harmonica and raunchy lead vocal.

The CD includes five previously-unreleased recordings by The Exception. 'When Your Luck Is Down' is a characteristic blues-pounding walkabout that would have fitted well in their stage show. 'When You Have A Good Gal' with its sparse instrumentation and heart-felt lyrics would not have seemed out of place on Bugsy's solo album. 'These Women Funny' is a driving rocker sounding more like a live recording than a studio production. The group vocal backing and rather vintage-sounding guitar gives it a real mid-1960s vibe.

'Bach Theme' is a jazzy instrumental workout featuring expertly-played saxophone and trumpet presumably by Steve Yetson. Blending along with Roger Hill's lead, it's not difficult to see why the latter would later choose a career as a jazz guitarist. The final unreleased recording (also an instrumental) titled 'Abdel Do Do' sounds like it was recorded live and mostly improvised (which it probably was). Again, saxophone features prominently with everyone getting a chance to take the lead and do their bit. There's a great climactic ending too which makes it a good choice for the last track on this CD.

While studying these recordings by The Exception, it becomes more clear to me that they were certainly no 'pop group' but a hard-working blues-based band in which their major strength was in live performance. I'm sure those lucky enough to have experienced them on-stage would agree. Had they continued, recognition may have eventually came their way but with the absence of a hit single taking them to the next level it was unfortunately not to be.

Wednesday, September 14, 2016

Essentially, Redwing, Glad, and the New Breed are all the same band...sort of. As the band evolved and their styles changed, so did their name.

Actually, the story begins in Sacramento, CA in 1962 when Timothy (B.) Schmit, Ron Floegel, and Tom Phillips played together in a folk trio, appropriately named Tim Tom & Ron. In 1963, as high school sophomores at Encina High, the band added drummer George Hullin and switched to surf music. With this new change in direction and new member, Tim Tom & Ron became The Contenders.

Around 1968, the band signed on with a new label, Equinox, under producer Terry Melcher, who had the group change their name to Glad. In Los Angeles, Glad recorded one album, Feelin' Glad. The album, again, is very Beatlesque, but it is a highly produced effort, more so like the post-'65 Beatles. Apparently, the band was unhappy with the album due to the fact that they had very little control over it. Certain parts of the record were overdubbed with strings, horns, and fancy production against the band's wishes. Furthermore, its been stated that Tim Schmit is the only Glad member that appeared on the LP's track, "Shape of Things to Come," and this was apparently a sore spot for the group. Regardless, the album, which is mostly Glad originals, is a solid album filled with great cuts and great singing and harmonies.

Unfortunately, Feelin' Glad did not sell particularly well, and in 1969, Tim Schmit, aka, Timothy B. Schmit was offered the position of bassist for Poco . He accepted it and went onto record some of the most under appreciated music ever with the band. He became the replacement for Randy Meisner, who, ironically, he would replace again in the Eagles in 1977. With Poco, Tim released 11 albums. Glad, again, changed their name. This time, they became Redwing.

Saturday, September 10, 2016

Aubrey Small formed in 1969 with a line-up that featured 5 part harmonies, twin guitars & flute which was quite pioneering for those times! Very soon they were attracting considerable interest in heady musical circles. Ronnie Scott’s Jazz Club took the band under their management followed by numerous regular sessions on BBC Radio 1’s “Sounds of the Seventies” for Bob Harris & John Peel. The band were soon performing at landmark venues such as London’s Marquee, Flamingo, Samantha’s, Thatched Barn at Chalk Farm & the Roundhouse with Ronnie Scott’s becoming their “second home”. Tour gigs with major names including Status Quo, Supertramp, Edgar Broughton, Colosseum, Hawkwind, Pink Fairies, Robin Trower and many others were a growing part of the band’s new world.

Record companies were fast becoming aware of the band’s growing reputation and within a short time a recording contract was signed as well as a publishing contract with Radio Luxembourg MD Alan Keen of Louvigny Marquee, for their songs. An album was released in 1971 followed by a single some months later.

Although the band were together only four short years, they created a legacy of interest with the people their music reached, which has lasted until the present day. Recently unearthed long lost recorded material was returned to the band, prompting them to tell their short but colourful story.

They performed for the first time on Valentine’s Day 1970 at South Parade Pier, Southsea however within a few weeks, guitarist Marc Tuddenham had decided to leave. As the band was generating much interest they embarked on an immediate search for a replacement and by the end of March Peter Pinckney joined fresh from winning an NME national band contest. The song-writing became instantly prolific with members writing individually & collectively.

Another bizarre gig came along on 6th November when the band played the Flamingo in Wardour Street. It was an “all-nighter” with Hawkwind and Pink Fairies and they were due to play at about 3 am. When they arrived at the venue they had to wait around for several hours and then eventually were told that due to the venue being packed to capacity they had to pass the equipment over the heads of the crowded audience to the stage, set up and play! No sound check, no frills but a terrific gig!

The recording experience at Trident became intoxicating and at times even became somewhat surreal. For one number “Smoker Will Blow” John Anthony had the idea of putting orchestration on the track as it was too simple. Within a matter of days arranger Richard Hewson appeared together with a huge assembly of the finest jazz and orchestral musicians available. Here was another highly respected musician who had a list of high profile credits to his name including the Beatles, Bee Gees, Diana Ross, Art Garfunkel, Fleetwood Mac, Supertramp, Chris Rea among others – another who’s who! The band watched from the control room with amazement as an extraordinary and complex soundscape unfolded on their song. Ray Jackson of Lindisfarne was also invited to play harmonica on one track and Mike Vickers of Manfred Mann brought his giant Moog synthesiser in for another couple of tracks.

After the album was completed in September 1971, John Anthony went on to produce “Orange” for Al Stewart and as often happens with working relationships being fresh in mind he invited David (Bass) & Graham (Drums) to do the session work. The rest of the band were “most put out” as they hadn’t been asked to play until it was discovered that Rick Wakeman and Tim Renwick were chosen to play keyboards and guitar – no contest! Peter Pinckney and Rod Taylor were eventually invited to do some backing vocals together with Lesley Duncan who they had also met at Trident when she was working with Elton John with whom she had a long-standing connection.

Wednesday, September 7, 2016

Released in 1969, The House of Blue Lights was Don Covay’s bold, adventurous attempt to reach the underground audience. Here Covay is backed by the white-hot Jefferson Lemon Blues Band, credited on the album jacket. Prior to this LP Don Covay released two of the finest soul/pop albums of the 60’s, Mercy! and See-Saw.

The House of Blue Lights is much different than what came before. Most of the record is grounded in electrified country-blues; a deep Southern, swampy aura dominates the proceedings. No soul man of the time tried any blues like this before: raw, anguished and lived-in with lots of twangy guitar solos for good measure. A few of the numbers, namely the title cut parts 1 & 2, maintain a moody organ-led soul sound that’s highlighted by light sitar flourishes. These lengthy tracks are clear standouts but other cuts still have the power to stun and amaze. In the beginning “Mad Dog Blues” hit me like a ton of bricks. This tune begins with Covay (and band) barking like dogs in heat. It also features a fantastic flute solo and stinging lead guitar work; play this one LOUD for best results. “Four Women” is more of the same, Covay’s smooth, soulful vocals complimented by crunching electric guitars and a rocking beat. Most of the album’s tracks are originals but a few covers are worth mentioning. Consider the old country-blues standard “Key To The Highway,” Covay manages to breathe new life into this classic warhorse by adding muffled vocals and electric back-porch-blues guitar.

Although blues sounds dominate this set list, The House of Blue Lights is a varied listening experience that’s well paced. Some tracks are accoustic country-blues (“Steady Roller”) while others like “Shut Your Mouth” feature greasy blues harp, piano, pounding drum fills and complex song arrangements. When listening to the great down-and-out “But I Forgive You” I can’t help but think of a young, bluesy Rolling Stones. Bruce Eder summed it up best in his review of The House of Blue Lights on allmusic.com; “This album is not only a great record on its own terms, but it’s sort of a black parallel/precursor to a few blues-rock LPs by white artists that sold a hell of a lot more copies around the same time. Much of the album sounds like the sonic and spiritual blueprint for Let It Bleed and Exile on Main Street and parts of Layla & Other Assorted Love Songs.”

If a bit offbeat, The House of Blue Lights is one of Covay’s best albums. I’ve seen other reviews refer to the LP as “odd” but I think it’s a wonderful, individual recording that’s seldom been equalled in the world of soul music. The overall vibe of The House of Blue Lights is that of a great artist and tight band, blasting thru a powerful set of swampy blues rock on one of those hot, humid southern nights. A true American classic.

Sunday, September 4, 2016

Rainshine was recorded in April 1971 at AIR Studios under the aegis of George Martin. His vocal and orchestral arrangements were, of course, peerless, the rhythm section of Les Brown and Harry Reynolds knitted together seamlessly, while David Dowd's guitar work provided the sympathetic, laid-back feel that was required. Apart from the odd overdubbed line from the new Moog synthesizer, everything was performed live with an absolute minimum of overdubs, with Rod on piano and Roger on acoustic guitar. The duo's harmonies were sumptuous, while the addition of Harry Reynolds, Aliki Ashman and Charlene to the vocal mix brought something new to the table.

Most importantly of all, however, the new songs were superb. The likes of' ‘Going Down', 'Race Against The Sun' and 'Beam Me Aboard' were mellow, radio-friendly soft rock creations, 'New York City Rain' extended the earlier Simon & Garfunkel comparisons but added an understated country rock feel, while 'Lullaby' and 'Just Friends’ wore tender laments that reflected the influence of James Taylor during the early 1970s. 'If You Were Here and 'Pacific Coast Highway' were drowsy, winsome ballads that anticipated the sound of America (who, of course, would also be produced by George Martin), while 'Let It Shine' and 'Real Slow' were arresting slices of post-Beatles psychedelic pop/rock. With its strings arrangement and prominent female backing vocals, the epic 'Its My Time' was a putative anthem, and the catchy 'Smile LA, You're The Centre Of The World' {complete with a sly reference to old sparring partner Al Stewarts song 'Electric Los Angeles Sunset') would surely have made a great single. Sadly, though, it wasn't to be.

The album was completed in less than three weeks and duly dispatched to the American branch of RCA. Lcnnie Poncher was standing by to set up a US tour, secure in the knowledge that, whereas Rod and Roger had previously requested an orchestra, they were now a tight, self contained five-piece unit. Their future seemed rosy, but a hard rain was about to fall. RCA were extremely unhappy about the change in style from the hard rock approach of Stranded; they didn't hear a potential hit single, and refused to release the album. "When we gave them Stranded, we were concerned that they wouldn't like it as it was essentially a progressive rock album", recalls John Miller. "Instead they loved it. When it came to the next album, they wanted another prog rock set – but instead we gave them Raimhine. They were horrified. They told us that America had plenty of Simon & Garfunkel-style soft rock acts of their own, and that there was no market for an English band doing the same thing. Lennie Poncher unexpectedly announced his retirement, so we had nobody in our corner, and RCA turned down the LP. George (Martin) was really shocked - he'd never had an album rejected before!"

It was a sad end to Edwards Hand, who, in Roger's words, "went out with a whimper". John Miller was already producing in his own right, and he suggested that they form a production company together, Triumvirate. This led to the three of them opening their own recording studio, Redan Recorders, and a new career as arrangers and record producers. Nevertheless, it should be mentioned that Rod and Roger did make one more album together: The Butterfly Ball And Jlie Grasshopper's Feast, released by the Argo label in 1975. This featured poems from Alan Aldridge's illustrated book of the same title, with readings by Judi Dcnch and Michael Hordern, and music and vocals by Edwards Hand. However, it is the long-lost Rainshine that effectively constitutes the duo's final work together: throughout their four albums that they recorded under the banners of either the Picadilly Line or Edwards Hand, Rod and Roger were always searching for their own style. They believe that, on Rainshine, they finally found it.